kane_readinggroup4

Here are the collaborative answers from Reading Group 4: Christina Speligene, Jennie Tsai and Yoav Schlezinger.

1Q. Which story events are directly presented to use in the plot and which do we infer? Is there any non-diegetic material given in the plot?
1. The story events that are presented are Kane's last word "Rosebud" on his deathbed, followed by a biographical newsreel which opens the film and clearly outlines what's to come. The reel leads to Thompson's investigation to what Kane's "Rosebud" meant and its significance in his life. Kane's life is presented throughout multiple narratives using an almost invisible Thompson conducting interviews with five people with a connection to Kane at some point of his life. Non-diegetic material includes the split screens (such as Leland in chair lower left, flashback appears upper right) audio overlays, and musical score — more skin (covering) than the skeleton (plot).


2. Q What is the earliest story event of which we learn? How does it relate through a series of cause and effects to later events?
2. The earliest event we see is the the death of a wealthy man who dies alone in an exotic castle uttering the word "Rosebud" which sets up suspense. The cause and effect of his last word led to exposure by Thompson. His obsession with money and power is revealed, as well as his childhood, the origins of his fortune, his association with Thatcher, his academic failures, and ultimate obsession with the Inquirer and politics. We see his struggle to satiate his thirst for love and happiness with excess and muscle. Later events illustrate the undoing of a man who seemingly has it all but is empty inside. In the end, after all his efforts to create his own world, final memory was from his childhood.


3.Q What is the temporal relationship of story events? Has temporal order, frequency, or duration been manipulated in the plot to affect our understanding of events?
Through newsreels, flashbacks, character narratives and the Thatcher manuscript, the story is told in non-temporal order and in a documentary style. The jumbled order and pacing creates suspense - especially for this time in Hollywood - and makes his rise and fall more dramatic. Temporal frequency is also used to show several perspectives (Susan's operatic debut) Additionally, time was compressed to move large gaps of time very quickly as in the husband and wife breakfast sequences, and from boyhood to the young adult who bought the newspaper.


4Q. Does the closing reflect a clear-cut pattern of development that relates to the beginning? Do all narrative lines achieve closure, or are some left open?
4. Bookended opening/closing shots of Xanadu as well as Kane's last word and the burning sled enhance the story development and frame the narrative. It feels well-developed though without closure. The narratives don't fully provide closure because they are subjective. The reporter's findings are seemingly objective as does the film presentation. When we, the audience, see "Rosebud" as it burns, (restricted information) we have some understanding of loss — loss of childhood, innocence and the American dream — yet we never get a complete answer to what "Rosebud" was or meant to Kane. It seems Welles was known for toying with audiences - as in the bogus alien invasion "War of the Worlds".


5Q. How does the narration present story information to us? Is it restricted to one or a few characters' knowledge, or does it range freely among the characters in different spaces? Does it give us considerable depth of story information by exploring the characters' mental states?
5. Story information is presented through five multiple character narratives (Bernstein, Leland, Alexander, and Thatcher, and the butler) provide certain details about Kane yet are seemingly subjective. Although it gives us depth of of information and shows their lack of sympathy and the reasons why all abandoned him - the mystery of Kane's character and his motivations are still not clear.